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Works of Jan Klusák and Marek Kopelent
Nečaský, Jan ; KAŇKA, Michal (advisor) ; PETRÁŠ, Miroslav (referee)
Bachelor work about the New Music phenomenon and two composers, Marek Koplent and Jan Klusák. The thesis is divided into two parts, theoretical-historical and analytical. The theoretical and historical part deals with the new music and musical life of both composers, their musical activities in ensemble Musice viva pragensis (Kopelent) and Komorní harmonie (Klusák). Deals with the modern European music that influenced the composers. This section is divided into three chapters. The first concerns New Music and characterizes it, others deal with both composers. The second part of the bachelor thesis is analytical. This is an analysis of the compositions of the Jitřní chvalozpěv (1978) by Marek Kopelent and VII. Invence pro orchestr (1972−73) by Jan Klusák. The bachelor work is written using this literature and on the basis of personal interviews with both composers. In the analytical section are scanned scores.
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TECTONICS OF THE 20th AND 21st CENTURY MUSIC FROM THE PERSPECTIVE OF COMPLEX ANALYSIS OF MUSIC STRUCTURE
Krejča, Tomáš ; TICHÝ, Vladimír (advisor) ; KVĚCH, Otomar (referee)
This dissertation tries systematicaly contain rarely reflected phenomenon of tectonics. Its aim is to explore tectonics as a dynamic process of structuring focused on the structures of 20th and 21st century music.
This thesis portrays tectonics as a comprehensive tool of articulation of music and sound material in general. It reflects the current state of research on home field and brings partial views of the world, where, however, faces terminological difference and practical absence of tectonics as a term and as a musicological field or discipline. Tectonics conceived as a systematic discipline reflecting the tectonics as a phenomenon is to some extent the Czech (Czechoslovak) specifics. Within its own concept of tectonics of contemporary music the thesis presents general tectonic scheme of the structuring process. In the range of this work is structure defined as a system and some tectonic functions and principles are described too. The dissertation, however is honestly trying, not aspire to be a comprehensive, complete and systematicly perfect concept of tectonics. In terms of variability and evolution of musical language, which is tectonics an organic part of, it is not even possible. Nevertheless, we believe that this thesis will provide useful insight and possible introduction to closer examination of tectonics as a key phenomenon of structuring the musical substance.
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NEW INTERPRETATION MEANS IN CZECH CONTEMPORARY MUSIC FOR THE GUITAR
Mazan, Josef ; RAK, Štěpán (advisor) ; KLAUS, Miloslav (referee)
This dissertation explores the field of new interpretation means in the compositions for the guitar solo by Czech contemporary authors. Nineteen works have been chosen, in the period from 1943 to 2015. The material obtained through analysis is by the means of comparison explored into a greater depth.
The result of the research can be summarised in the statement that to write well for the guitar means to understand the right hand. In the chapter about instrumentation I further explain these features. The aim of this thesis is to inspire new works for the guitar.
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The development of interpretational demands on Czech composers works for percussion instruments from the 1960s to the present
Veselý, Šimon ; MIKOLÁŠEK, Daniel (advisor) ; BARTOŇ, Hanuš (referee)
This diploma thesis deals with the growing tendency of composers of Czech artificial music from the 1960s to the present to discover new technical possibilities of percussion instruments and then apply them to the musical process. The work contains several notes about the historical re-evaluation of the percussion instruments in the hands of the composers, and the emancipation of the percussion instruments in the work of Czech composers. The work contains several theoretical and interpretative analyzes, namely the analysis of works by Miloslav Kabeláč, Marek Kopelent and Daniel Chudovský. The aim of the work is to point out the increasing demands for interpretation of contemporary music for percussion instruments, but also the resonant plurality and openness of various composing personalities of the selected time period.
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THE CZECH CREATION OF CONCERT MELODRAMA IN THE SECOND HALF OF THE 20th CENTURY AND AT THE BEGINNING OF THE 21st CENURY
Kux, Martin ; FILAS, Juraj (advisor) ; KURZ, Ivan (referee)
This Bachelor thesis named “Czech Creation of Concert Melodrama in the Second Half of the 20th Century and Beginning of the 21st Century with Analysis of 4 Compositions” deals with the view of Czech melodrama as a specific genre combining spoken word with musical component that has historically had an important tradition in the Czech Republic.
The thesis primarily focuses on the chronological development and various component concepts in our country in the past 50 years. In order to demonstrate the topic, four melodramas by authors from different generations are presented in the paper.
Through their analysis, the author describes what directions the style and development of the Czech concert melodrama has been heading.
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Sto zvířat, legend of the czech Ska,a quarter century on stage
Klazar, Tomáš ; ROUČEK, Jaroslav (advisor) ; REJLEK, Vladimír (referee)
This thesis deals with the twenty-five year history of the band Sto zvířat, which is one of the most significant groups of the post-revolution music scene working successfully even nowadays. The author of this thesis tries to find answers to the question why this band keeps basking in the glory for such a long time. This thesis describes the reasons of founding Sto zvířat, defines the genre of ska, brings the complete biography and discography of the group and tries to present also the other music activities of the current members.
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Contributtion of Belorusia composers to the 20th and 21st century guitar repertoir.
Krein, Nikita ; RAK, Štěpán (advisor) ; ZELENKA, Milan (referee)
This thesis deals with the contribution of Belarusian composers to the 20th and 21st century guitar repertoire. The aim of this is to highlight important role of authors from Belarusian guitar school in creating guitar repertoire not only in Belarusian context. The first part of this thesis focuses on the works of professional composers composing for guitar, as well as the works of Belarusian guitarplayers-composers.Also, I systematised published ,usic material and methodological publications regarding guitar, from the historically first guitar anthology in Belarus till today. In the second part, I analysed chosen guitar composition of Belarusian author - the Concert for guitar , strings and bells from Galina Gorelova.
While determining the contribution of Belarusian composers to guitar repertoire, I first researched the background of professional guitar education and interpretation in Belarus in soviet times. These are the roots of madern professional guitar composer school. The work of particular composers has been analysed based on their interpretation, pedagogic and composer activity in historical and music - cultural context.
I analysed the Concert for guitar, strings and bells in three parts from G. Gorelova from the point of view of guitar part, its role in this composition, dramaturgical content and musical form.I managed to systematise the work of Belarusian composers- guitar players and non - guitar players, as well as publishing of their opuses and compositions, and to include them into a broader context of Belarusian guitar school development.
The benefit of work lies in highlighting the role of Belorusia composers in creating guitar repertoire not only in Belarus. Based on data ascertaned, it is possible to contend that Belarusian guitar players and composers contribute significantly to the 20th and 21st century guitar repertoire.
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Films awarded by the Academy in the sound categories
Bartošová, Veronika ; KLENKA, Jiří (advisor) ; ČENĚK, Jan (referee)
The thesis deals with the theme of awarding Oscars by the American film academy and films that were awarded in the sound categories. The first part is about the history of the Academy and the voting system concerning nominations and the winning films.
The second part includes an analysis of the sound components of the chosen films that were awarded. The aim is to monitor the development of the sound during the course of almost 85 years and to reveal the secrets of the success.
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